The antique Greek dance, after sculptured and painted figures . Fig. Fig. 2C. mental type is shown in Fig. 27, is not in-exact. It represents a true moment of therun, but it is not natural in all its monotonous repetition of the same posetends to prove that the artists did not see allof the moments (282) of the run. The ancients observed very closely. Theeducation of their eyes was carried to a highstate of development. Marey points out aremarkable resemblance between the runnerspainted on the Athenian amphora? of the fifthand fourth centuries B. C. and the runners whose movem
The antique Greek dance, after sculptured and painted figures . Fig. Fig. 2C. mental type is shown in Fig. 27, is not in-exact. It represents a true moment of therun, but it is not natural in all its monotonous repetition of the same posetends to prove that the artists did not see allof the moments (282) of the run. The ancients observed very closely. Theeducation of their eyes was carried to a highstate of development. Marey points out aremarkable resemblance between the runnerspainted on the Athenian amphora? of the fifthand fourth centuries B. C. and the runners whose movements are hereanalyzed. 72. The Leap.—The three photographs, taken at successive mo-ments, are sufficient proof of the relation between the run and the
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
